The very first retrospective book showcasing the renowned high jewelry Maison Chaumet features a collection of iconic editorials and campaigns captured by major photographers such as Guy Bourdin, Peter Lindberg, Mario Testino, Mario Sorrenti, Richard Burbridge, and Paolo Roversi. Additionally, it presents previously unreleased autochromes from the early 20th century, offering a captivating glimpse into the Maison’s historical archives.

A photographic reference title authored by Carol Woolton, a leading authority on high jewelry at British Vogue, Sylvie Lécallier, director of the photographic collection at Palais Galliera Musée de la Mode in Paris, and Flora Triebel, a curator specialist in 19th-century photography at Bibliothèque Nationale de France, delves into the close ties Chaumet has woven with photography since its inception, revealing its innovative collaborations over the years. From the 1930s to the present day, the book offers a portrait of high jewelry and women, making it an essential read for photography and high jewelry enthusiasts worldwide.

“…sumptuous large illustrations of the selected Works, with a beautifully printed tonality”
“lt is exciting to think about how this important collection can continue to grow while this publication is already a beautiful tribute to Scottish art.” — Journal of the Scottish Society for Art History, Volume 29, 2024-2025, p.128
The National Galleries of Scotland is home to the most important collection of Scottish art in the world. This beautifully illustrated book introduces the collection through 100 works, specially chosen by the curatorial team who care for them.
The selection ranges chronologically from a 16th-century portrait of a Scottish king to 21st-century instalations and prints. Some of the most famous painters in Scotland’s history feature alongside some of the finest artists working in Scotland today. Many of the most distinctive movements in Scotland’s artistic heritage are represented, including the Celtic Revival, Arts and Crafts, the Glasgow Boys and the Scottish Colourists.
Each of the 100 works is reproduced alongside a text by one of 23 three expert contributors. The introduction gives an overview of the collection and Scottish art history more broadly. It is perfect for those who already love Scottish art, and those who are yet to discover its riches.  

Whereas the Western world views dolls as children’s toys – apart from a few adults with a passion for collecting them – in South Africa dolls are part of a tribe’s cultural heritage. They are not toys but objects that are laden with associations and the ritual and religious beliefs of a community. African dolls are seen as mediators between the natural and the supernatural; they were created in a great variety of materials and used for ritual, spiritual and healing purposes. All dolls in this collection come from a Zulu household in Msinga, a tribal region in the former province of Natal, today KwaZulu-Natal, on the eastern coast of South Africa. Made by women of the tribe between 1987 and 1994, they document the end of an agrarian-oriented population and the development towards a modern industrial society in South Africa. In numerous interviews with the women of this tribe, the author captured the meaning and the content of this collection, which has been passed on over many generations from mothers to daughters.

Text in English & German.

This book is put together like a jewel and contains a carefully chosen selection of around 100 West African combs from one of the world’s largest and finest private collections of sub-Saharan African art. Featuring a hitherto unseen assortment of pieces assembled over a period of more than 60 years, the book also includes an authoritative analysis by Alain-Michel Boyer, who approached this rarely addressed theme in what was his final work, begun almost ten years ago.

As well as offering us valuable insights into the cultures that produced these miniature sculptures (Ivory Coast, Ghana, Burkina Faso, Nigeria), he explores the way the form itself is approached. These creations transform what is in principle a plain accessory and in the effort to attain pure beauty, they display an aesthetic awareness that raises the adornment of the body to the level of fine art.

Headrests from Southern Africa – The architecture of sleep presents the subject of southern African headrests in a fascinating new light. The book, richly illustrated – often with in situ photographs, offers unique historical and personal information collected from many of the original owners and carvers of the headrests. So, for the first time African headrests are brought to life with detailed information and the stories of their creation, ownership, use and significance.

The 438 headrests from the collections of Bruce Goodall from Cape Town and Frédéric Zimer from Paris are presented according to 3 geographical areas: KwaZulu-Natal, Limpopo (where the Ntwane people live) and Eswatini (formerly known as Swaziland).

Since 2003, Goodall has made numerous field trips collecting, as well as interviewing and photographing the owners and carvers of headrests. In 2017, Goodall’s collection grew substantially with the purchase of a comprehensive collection of headrests from the Msinga area of KwaZulu-Natal. This collection had been assembled and meticulously documented by the late Anglican priest Clive Newman and his friend and assistant, Mavis Duma, between the late 1980s and the mid-2000s. The Zimer collection has been built up since the 1990s through his many travels in Africa, and his acquisitions from collectors and African art dealers around the world.

This publication not only offers insight into the personal and historical dimensions of this important southern African tradition through the text written about the headrests and their owners by Bruce Goodall, but includes essays by Newman, Nel and Leibhammer and a text about collecting by Duma. Together these facilitate a penetrating understanding of these valued items as well as a respectful appreciation of the cultures and individuals who made and used them.

The very first retrospective book showcasing the renowned high jewelry Maison, Chaumet features a collection of iconic editorials and campaigns captured by major photographers such as Guy Bourdin, Peter Lindberg, Mario Testino, Mario Sorrenti, Richard Burbridge, and Paolo Roversi. Additionally, it presents previously unreleased autochromes from the early 20th century, offering a captivating glimpse into the Maison’s historical archives.

A photographic reference title authored by Carol Woolton, a leading authority on high jewelry at British Vogue, Sylvie Lécallier, director of the photographic collection at Palais Galliera Musée de la Mode in Paris, and Flora Triebel, a curator specialist in 19th-century photography at Bibliothèque Nationale de France, delves into the close ties Chaumet has woven with photography since its inception, revealing its innovative collaborations over the years. From the 1930s to the present day, the book offers a portrait of high jewelry and women, making it an essential read for photography and high jewelry enthusiasts worldwide.

Defining a distinct style of painting produced in India during the British period and influenced by European artistic norms, this catalogue of Company Paintings in the TAPI (Textiles & Art of the People of India) Collection is a unique illustration of the social milieu prevailing in India in the nineteenth century. Tracing the origins and evolution of this genre of painting, the volume shines a fresh beam on subjects commissioned to be painted by officials of the East India Company, such as occupations, customs, dress, bazaars, festivals and daily life of ordinary people, a world removed from the elite and princely environment that was the chosen subject of Indian miniature artists. The catalogue of the TAPI Collection of Company Paintings highlights works from the major regions where such paintings were produced – Murshidabad, Calcutta, Patna, Lucknow, Delhi, Punjab, Kutch, Tanjore, Trichinopoly, Madras, Kerala and the Andhra Coast. It comprises a rich and accurate record of the diverse modes of dress and manners of the people before the advent of photography. This catalogue documents the first-ever exhibition on the subject to be held in India, being a collaboration between TAPI and CSMVS (Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, formerly the Prince of Wales Museum of Western India).

More than 130 works from the collection assembled by Drs Nicole and John Dintenfass over fifty years. The Dintenfass Collection serves as a model and a source of inspiration for new and seasoned collectors alike. A different slant on collecting which is not actually just buying from dealers. A lavishly illustrated book that traces the origin of a collector’s interest in African art and analyzes the psychological aspects driving the passions for collecting. The Nicole and John Dintenfass Collection is well known and based on aesthetics, and the works have been reproduced in many publications. They have collected with passion, diligence, depth and rigor monumental sculptures and wooden miniatures, from most regions of Africa. Focusing on pieces of the highest artistic quality, this book shares the collectors’ personal point of view about collecting and offers to readers anecdotes that provide an additional insight into this world to future and present collectors in their search for African art. Collecting is a passion that often leads to intimate inner conversations or to emotional experiences with the objects themselves. Moreover many collectors share their unique experience of joy and appreciation with twentieth-century artists who also collected African art and who generously imparted advice, suggestions and support in responding to the collectors’ enthusiasm. Thanks to the multiple beautiful and sensitive photographs of each object, the viewer has a chance to form an intimate conversation that creates a connection with those African master carvers that have strongly influenced modern realism, cubism and expressionism.

You can’t design for the future without understanding the past. This idea underpins the new collection presentation at the Design Museum Gent. Founded in 1903, the museum has undergone a 4.5-year renovation and has now reopened, showcasing nearly 500 objects. To mark the occasion, two catalogs have been released: one extensive and in-depth, and a smaller volume highlighting 50 key pieces from the new collection presentation. Both are structured around five themes: imitation/copy, comfort, migration, folding/bending, and connections. In Models from the Past for the Future ISBN 9789059968158, these themes are explored through essays by experts such as British design historian and curator Cat Rossi and Vienna based art historian and curator Sebastian Hackenschmidt, alongside a range of shorter visual contributions. In 50 Highlights the same themes provide the framework for a curated selection of the most significant objects in the collection presentation. Both catalogs are available separately, but also as a beautifully designed combo ISBN 9789059969308.

Seeing Zen is the catalog of 124 masterpieces in the Kaeru-an Zenga Collection. There are 91 paintings and 33 calligraphies presented in full-color, high quality illustrations and extended captions. Each entry has a detailed description that includes the original Japanese characters, English translation, and a commentary by John Stevens, a world authority on Zen art and artists. Seeing Zen includes heretofore unpublished art work by every major Zen artist – Ikkyu, Fugai, Takuan, Mokuan, Jozan, Hakuin, Sengai, Jiun, Gocho, Suio, Torei, Rengetsu, Tesshu, Nantenbo, and others. An extensive section on Artists’ Biographies is appended. Published to coincide with a major exhibition of Felix Hess’ Kaeru-an Collection at the Czech National Museum in Prague in Autumn 2020. Also, in 2020 John Stevens will be the curator of the Otagaki Rengetsu exhibition at the Asian Art Museum in San Francisco. He will promote Seeing Zen in lectures and book signings.

Founded in 1921 and the first of its kind in the country, the National Gallery of Canada’s Department of Prints and Drawings boasts a world-class collection of historical drawings dating from the 15th to the 20th centuries. These works, rendered in a wide range of mediums – graphite, ink, pastel, watercolor – reflect the diversity of techniques used over the ages.

Incorporating the latest research and a displaying wealth of scholarship, this richly illustrated book celebrates the recent centenary of this outstanding collection. It brings together a spectacular array of drawings, including newly acquired additions and little-known but historically significant works. The wide selection of plates showcases preparatory studies for paintings, depictions of historical and mythological themes, portraits, landscapes, forays into abstraction, and poignant explorations of the human condition. Featured artists include Élisabeth Louise Vigée Le Brun, Théodore Géricault, Gustav Klimt, Edvard Munch and Wassily Kandinsky, among many others.

According to Count Galeazzo Arconati, who gave other Leonardo manuscripts to the Ambrosiana Library in Milan, the drawings concerning nature, anatomy, and color, have been “in the hands of the King of England before 1640.” The collection has been recorded as being in the possession of Queen Mary II, in 1690, a year after she and her husband, William III, ascended the throne as joint monarchs. The collection comprises all the known anatomical drawings by Leonardo. Three hundred images of the human body by the great artist, made between about 1485 and 1510–15, are showcased in this magnificent volume. Based on the artist’s own anatomical dissections, they show his evolving understanding of physiology. The drawings demonstrate, as well, Leonardo’s progress from technical mastery of his subject to consummate draftsmanship.
The commentary on this astonishing body of work is by Professor Martin Kemp of Oxford University, a leading international authority of Leonardo da Vinci, who explains the uniqueness of the painter’s stroke and the refined figurative transposition. One of the most renowned Italian Anatomists, Professor Mario Rende of the University of Perugia, analyses the significance of these works from a medical-scientific angle, revealing the insights, the research methodology, and the experimental and analytical approach of the Genius of da Vinci. Moving between art and anatomy, between unsurpassed illustrative display and avant-garde Renaissance scientific research, the work thus provides an in-depth and comprehensive look at an indispensable aspect of the Great Master’s story.

Text in English and Italian.

Following a first volume devoted to secular and sacred objects and sculptures from the 12th to the 18th centuries, this second catalogue in the decorative arts collection of the Fondation Gandur pour l’Art focuses specifically on the art of living. Furniture, caskets, boxes, clocks, lamps, turned ivories and gold and silver cups from the dawn of the Renaissance to the end of the Age of Enlightenment provide a panoply of strictly decorative European creativeness.

Edited by Fabienne Fravalo, curator of the decorative arts collection at the Fondation Gandur pour l’Art, this catalogue is introduced by two essays, written respectively by Sophie Mouquin, lecturer at the University of Lille, and Caroline Heering, professor at the Catholic University of Leuven. It presents the major objects in the collection, studied and analyzed by curators and scholars working in German, American, English, Belgian, French and Swiss institutions.

The Ashmolean is fortunate in having the finest collection of Indian art in Britain outside London, one which includes many works of great beauty and expressive power. For this we are indebted above all to the generosity, knowledge and taste of our benefactors and donors from the 17th century to the present. This book offers a short account of how the collection developed and a selection of some of its more outstanding or interesting works of art. While it is written mainly for the general reader and museum visitor, it includes many fine objects or pictures, some of them unpublished, that should interest specialist scholars and students.

Since 1987, the Ashmolean has made many significant new acquisitions of Indian art and these are highlighted in this collection. As the book’s title implies, it also ventures beyond the bounds of the Indian subcontinent by including works from Afghanistan and Central Asian Silk Road sites as well as many from Nepal, Tibet and Southeast Asia. From the early centuries AD, Indian trading links with these diverse regions of Asia led to a widespread cultural diffusion and regional adoptions of Buddhism and Hinduism along with their related arts. Local reinterpretations of such Indic subjects, themes and styles then grew into flourishing and enduring artistic traditions which are also part of the story of this book.

The selection of works ends around 1900. By the 16th century and the early modern period in India, growing European interventions and Western artistic influences under Mughal rule saw a significant shift in sensibility and the practice of more secular and naturalistic forms of court art such as portraiture. By the late 19th century, fundamental cultural changes under British rule and the advent of new technologies brought about a gradual decline in many of India’s traditional arts.

A remarkable private collection formed over the last thirty years is the focus of this richly illustrated book that introduces the reader to English silver spanning a century and a half from a little before the Tudor age (1485-1603) to the threshold of the Civil War (1642-51). This was a period when England changed out of all recognition. At the beginning it was still essentially a medieval country dominated by an autocratic king and a rich and powerful Church; by the end of the period the Church had lost virtually all of its power and, with the execution of Charles I in 1649, the monarchy itself was abolished. To a degree, this changing world is mirrored in the styles represented by the silver featuring in the collection. Besides setting the silver against its social and historical background the book examines the wide range of techniques used by silversmiths at the time to shape and adorn silver objects.

Things Made Over Time is a comprehensive survey of South African artist-potter Hylton Nel’s work, spanning his career from the 1960s to 2024. From his early days in Antwerp to his studio in Calitzdorp, Nel’s ceramics—plates, bowls, vases, and sculptures—embody a unique voice in contemporary ceramics. Featuring a foreword by Dior Men’s creative director Kim Jones and a photographic series by Pieter Hugo, this book explores Nel’s vast inspirations, from Staffordshire pottery to Tang Dynasty China, as well as his home filled with objects and books. With insights from Nel’s own words and an essay by art historian Tamar Garb, who highlights his whimsical cats as symbolic witnesses, Things Made Over Time captures Nel’s blend of humor, critique, and timeless tradition. A must-have for collectors and lovers of contemporary ceramics.

This is the story of the Reeves Collection of botanical paintings, the result of one man’s single-minded dedication to commissioning pictures and gathering plants for the Horticultural Society of London. Reeves went to China in 1812 and immediately on arrival started sending back snippets of information about manufactures, plants and poetry, goods, gods and tea to Sir Joseph Banks. Slightly later, he also started collecting for the Society but despite years of work collecting, labeling and packing plants and organizing a team of Chinese artists until he left China in 1831, Reeves never enjoyed the same degree of recognition as other naturalists in China. This was possibly because he had a demanding job as a tea inspector. Reeves himself never claimed to be a professional naturalist and the plant collecting and painting supervision were undertaken in his own time. Furthermore, fan qui (foreign devils) were restricted to the port area of Canton and to Macau, so that plant-hunting expeditions further afield were impossible. Furthermore, Reeves never published an account of his life in the country, unlike Clarke Abel and Robert Fortune, but he left us some letters, notebooks, drawings and maps. The Collection is held at the Royal Horticultural Society’s Lindley Library in Vincent Square, London. It is a magnificent achievement. Not only are the pictures accurate and richly colored plant portraits of plants then unknown in the West, but they stand as a record of plants being cultivated in nineteenth-century Canton and Macau. In John Reeves: Pioneering Collector of Chinese Plants and Botanical Art, Kate Bailey reveals John Reeves’ life as an East India Company tea inspector in nineteenth-century China and shows how he managed to collect and document thousands of Chinese natural history drawings, far more than anyone else at the time.

The catalog for the exhibition at the Cleve Carney Museum in Chicago (2025) presents at the Cleve Carney Museum in Chicago presents an exceptional collection of Japanese artworks, offering the public an in-depth understanding of Japanese painting production from the Edo period (1603–1868), particularly of ukiyo-e, the “images of the Floating World.” The volume includes a selection of hanging vertical scroll paintings (kakemono) and hand-painted horizontal scrolls by the great masters of the various schools, starting from the mid-17th century. Also featured are color woodblock prints with black outlines and hand painted details — a technique that evolved into nishiki-e, the famous multicolored “brocade pictures” — as well as printed and painted fans, and high-quality handcrafted objects that testify to Japan’s rich artistic and artisanal tradition, such as board games and musical instruments. These works reflect the evolution of taste, fashion, and entertainment culture that developed during the long Tokugawa peace corresponding to the Edo period. The extraordinary works come from the prestigious collections of the E. Chiossone Museum of Oriental Art in Genoa.

This publication marks Anthea Hamilton Reimagines Kettle’s Yard – an installation by Turner Prize nominee Anthea Hamilton at The Hepworth Wakefield, exhibited during September 2016 – May 2017.

The ambitious installation included a series of new works, created by the artist in response to works from the Kettle’s Yard Collection. Hamilton is renowned for her art-pop, culture-inspired sculptures and installations that incorporate references from the worlds of art, fashion, design and cinema. Based on her research into the art and objects of the Kettle’s Yard Collection, Hamilton re-appropriated objects from the collection, using unexpected details as starting points for new works.

Hamilton invited several British and international artists, with whom she has either previously worked, or whose work is important to her, to contribute to the new installation. These include: French artist Laëtitia Badaut Haussmann; British artist Nicholas Byrne; German artist Daniel Sinsel and the celebrated American photographer Robert Mapplethorpe.

“Turning the pages of this encyclopedia of golden parties, a nostalgia emanates from the clichés and plunges us into the evening of the stars at the Oscars…” — Harper’s Bazaar France

“With his new collection of photographs, Dafydd Jones offers a sensational dive into the excitement of the awards season in the 1990s.” —  Vanity Fair France

“… a rare collection of candid moments that reveal the deepest aspects of the personalities of the world’s most famous people.” — Vogue Greece

“These images, taken before the turn of the century, give us a snapshot into the rise of America’s future movers and shakers, when mobile phones were in their infancy, Facebook had yet to be created, and the hit TV series Succession hadn’t even occurred to a twenty-something Jesse Armstrong.” — The Independent

“If you’re interested in celebrity culture, black & white, and of course any of the other work of Dafydd Jones, this comes highly recommended.” — Amateur Photography

Hollywood: Confidential is the latest collection of beautifully timed photos from bestselling society photographer Dafydd Jones. Formerly of Tatler and Vanity Fair, Jones is a serial capturer of intimate moments during high-society functions. As famous Vanity Fair editor Graydon Carter puts it, when it comes to party photographers, ‘Dafydd Jones is the sniper’s sniper – the best of the best.’

On numerous occasions in the 1990s and 2000s, Jones turned his lens to the faces of Hollywood with all his usual impudence, as they mingled and danced at private events in the Hollywood Hills, Oscar-night parties and awards ceremonies. The result is a rare thing – photographs that convey the underlying personalities of the world’s most public personas.

Following on from England: The Last Hurrah and New York: High Life / Low Life, this is an essential portrait of celebrity culture from behind the scenes, featuring the likes of Anna Nicole Smith, Tom Cruise, Prince, Winona Ryder, Tony Curtis, Oprah, Nicholas Cage and more.

Praise for Dafydd Jones:

“Dafydd catches those moments of genuine exhilaration, wealth and youth.” – The Hollywood Reporter

“Mr. Jones goes about his business with cheery zest and a wicked eye.” – New York Times

“Some carefully tended public images are punctured with such rapier precision that one can hear the hiss as they deflate.” – Mitchell Owens, The World of Interiors

“Sublime vintage photographs…”– Hermione Eyre, the Telegraph

“Modest though he is, Dafydd’s photographs will endure for having perfectly captured a society on the brink of decline.” – Country & Townhouse podcast

“The New York book is an evocative historical document, brimming with nostalgia and menace.” – Hannah Marriott, The Guardian

“The best party photographers, and their numbers are few, are like snipers… Dafydd Jones is the sniper’s sniper – the best of the best.” Graydon Carter, foreword from New York: High Life / Low Life

“Dafydd’s brilliant evocation of a time and a class only seem more potent today, when we know that so many of the moneyed twits in his ’80s portfolio ended up running the country, as they always have” – Tina Brown, The New Yorker

The !Xun & Khwe Art Project was developed in 1993 in a refugee camp in Schmidtsdrift, South Africa. After being party to the struggles for liberation from colonial rule, endangered groups of San people from Namibia and Angola were relocated there. They eventually found their final home in the self-governing South African community of Platfontein. The art of the !Xun and Khwe came about during the short period of transition from a traditional way of life to a modern, globalized society. This is what makes them unique. The collection of Hella Rabbethge-Schiller reveals the remarkable creativity and visual expressiveness of the artists. Despite otherwise depending on oral transmission, the San have captured their stories for posterity here in images charged with energy.

Text in English and German.

Through a decade of friendship, sharing the same environs and being active collectors, Sonja Graber and Christian Graber are inextricably connected to the photographer Annelies Strba, the jewelry and object artist Bernhard Schobinger and the painter Adrian Schiess. A far cry from thoughts of prestige and conjecture, one of the most extensive collections from all genres of the three Swiss artists has now emerged out of artistic and personal esteem. In the collectors, the artists and the Kunsthaus Zug, like-minded people have come together in the most indiscriminate appreciation of fine and applied art. To mark the occasion of the donation of the Graber collections to the museum, the three internationally renowned artists along with hitherto largely unpublished works are now united in one publication. Contents: Art is an Experiment for Us by Matthias Haldemann; Supporting the Artists: Building the Graber Collection by Marco Obrist; Things, Art … Art Things by Felix Philipp Ingold; Undine’s Song by Ildegarda Scheidegger; The Year’s Production from 1981, the Start of Painting by Ulrich Loock; The Graber Collection at Kunsthaus Zug; artists’ biographies. Text in English and German.